SATA
ENTRY TYPE: new
WORK TITLE: A City Full of Santas
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE:
WEBSITE: https://thaiphuong.net/
CITY: Los Angeles
STATE:
COUNTRY: United States
NATIONALITY:
LAST VOLUME:
RESEARCHER NOTES:
PERSONAL
Married.
EDUCATION:UAH University, Vietnam, BFA; University of Brighton, United Kingdom, M.A.
ADDRESS
CAREER
Children’s book illustrator and designer. HCMC University of Architecture, Ho Chi Minh City, Vietnam, lecturer, 2017-21. Worked as a freelance magazine illustrator from 2011 to 2020 and a freelance artist and designer from 2011 to 2022.
WRITINGS
SIDELIGHTS
BIOCRIT
PERIODICALS
Kirkus Reviews, April 15, 2024, review of America’s Dreaming; July 1, 2024, review of A City Full of Santas.
Library Journal, September 27, 2024, Sarah Simpson, review of A City Full of Santas, p. 1.
School Library Journal, August, 2024, Peggy Henderson Murphy, review of America’s Dreaming, p. 77.
ONLINE
Thai My Phuong website, https://thaiphuong.net (February 25, 2025).
Vietcetera, https://vietcetera.com/ (February 25, 2025), David Kaye, author interview.
Writing and Illustrating, https://kathytemean.wordpress.com/ (July 30, 2022), author interview.
About Thai Phuong
Xin chào,
I’m Phuong, a Vietnamese illustrator who loves phở, boba milk tea, and homemade coffee from my husband : D
I graduated with a BFA in Interior Design. Working in publishers as part-time jobs, I slowly loved Illustration and Storytelling careers more. Because of this, I made a big decision to come to Brighton, UK to study for MA in Sequential Design/Illustration with a partial scholarship. Since then, I have worked with a deep passion for visual storytelling and teaching for international publishers, magazines, brands, and universities.
Currently, I’m living and working in Los Angeles. I would love to collaborate with you to do books, children’s books, illustrations, films, and creative projects!
For publishing projects of Children Illustration and Cover Art (U.S. and Canada), I’m honored to be represented by my amazing agent: Christy Ewers from The CAT Agency. Please see my CV and my illustration agent contact below, and I hope we can discuss collaboration soon.
Illustrator Saturday – Phuong Thai
Phuong Thai is a Vietnamese illustrator who graduated with a BFA in Interior Design. She worked with publishers as part-time jobs, Slowly she she realized she loved Illustration and Storytelling careers more. Because of this, she made a big decision to attend Brighton, UK to study for MA Sequential Design/Illustration with a partial scholarship. Since then, she has worked with a deep passion for visual storytelling and teaching for international publishers, magazines, brands, and universities.
Currently, she is working and living and in the USA. I would love to collaborate with you to do books, children’s books, illustrations, films, and creative projects! She loves phở, boba milk tea, and homemade coffee from my husband : D
For projects of Children Illustration and Cover Art, I’m honored to be represented by my amazing agent: Christy Ewers from The CAT Agency.
HERE IS PHUONG DISCUSSING HER PROCESS OF DESIGN/ILLUSTRATING A BOOK COVERS:
I sketch ideas and compositions with Procreate or Photoshop
After choosing a final option, I start to use big and low opacity brushes to sketch choice of colors.
Then, I paint color bases and clean up the big shapes.
After that, I add shading, light, some major details.
To do the typography, I add grids to organize the hand-drawing characters.
Finally, I adjust color tones, add delicate details, and double-check on lighting and shading. Then the artwork is ready!
Front and Back Cover Final
PHOUNG’S INTERVIEW:
How long have you been illustrating?
I started illustrating in 2007 when I was studying Interior Design at the University of Architecture HCMC. My roommate asked me if I may be interested in doing the small task of illustration, I said Yes, and then that moment led me to a new journey in the publishing field.
What and when was the first piece of art you created for money?
When I was 17 years old, my friend noticed that I’m good at making pop-up cards. She ordered me a special pop-up card as a Valentine gift for her crush. That was my first time earning a bit of money from my ‘artwork’.
I normally made cards for teachers and random occasions during high school time, I never thought it would make money.
What made you choose HCMC University of Architecture, Viet Nam to get your BFA in Interior Design?
I was born in Da Nang City in the center of Viet Nam which also has a university of architecture. But I love adventure and love learning from bigger places, so I chose to be on the train for a day to move my life to Ho Chi Minh City, the biggest city in the south of Viet Nam.
Why did you choose to study Interior Design?
The Industrial Art Department has approximately 5 years to finish the BFA. I have a few years to freely discover 4 majors: Interior, Fashion, Graphics, and Industrial. I love imagining spaces and combining multiple skills, so I chose Interior. Plus, the class of Interior Design is crowder, I want to learn from many more friends, to hang out with them often, that was why I finally chose Interior Design.
When did you decide you wanted to illustrate children’s books?
As a 2nd year student, I worked part-time jobs with publishers. I wonder if telling a story and drawing a story is the right path for me.
Luckily, right away after I graduated in Interior Design, a publisher invited me to join their team! I thought I would try this career for 2 years, then that decision led me to work professionally until now – more than a decade, and I have contributed a lot of covers, children’s books, and teaching illustration as well.
Five years later you attend the University of Brighton in the UK to get your MA in Sequential Design/Illustration. How did you make that decision?
Since I have a degree in Interior Design and switched to the Publishing field as my new career, I didn’t feel that I’m good enough. I love storytelling, love sharing my imagination in the form that every child could be happy to enjoy: books, with the scope of the world!
So, I believe that I still need to learn deeper about the new career I chose. I also couldn’t find any professional school to teach illustration in Viet Nam around 2014, that field was very new for us.
Because of that, I applied to study abroad, at the University of Brighton (UOB) in the UK which is trustworthy for sequential art. They also trusted my ability after an interview and granted me a partial scholarship, then I came to the UK!
Did you speak English when you moved to the UK?
Yes, the UOB required an academic English test. I wasn’t good at studying new languages so I failed the test at least 4 times within 4 months. I finally got the standard scores that were good enough to study MA. I sent all the failed test results to the UOB to prove that I’m serious about studying abroad and making efforts.
At the last minute, I got a letter from the UOB that my portfolio is exceptional so they accepted my English scores, and suggested that I can learn extra language classes later when coming to the UK.
I felt very grateful! However, I believe learning a new language requires a very long time to be better. So, even now, I’m still learning and improving each day.
Did the University of Brighton help you find illustration work before you graduated?
No, but I believe they have good support for students’ career growth.
Since I had clients before studying abroad, I still worked remotely while studying in the UK at the same time, to grow experience and ‘survive’ living costs in the UK. The UK and VietNam is very different in terms of living cost, I think.
Did you do any freelance artwork while going to school?
Yes, I was doing a picture book ‘Snow White and the Seven Dwarfs’ for a publisher in Australia, and some advertising illustrations for brands in Viet Nam.
I made a few stories for school projects, both of them were luckily be published later in Viet Nam and Europe
Chuyện ba quả trứng nhỏ và xứ sở siêu buồn chán (https://www.fahasa.com/chuyen-ba-qua-trung-nho-va-xu-so-sieu-buon-chan.html)
Ada et le fruit magique (https://www.amazon.com/Ada-et-le-fruit-magique/dp/2889356310)
Did you stay in the UK after you graduated or did you return to Viet Nam?
I had a lot of plans to eagerly share illustration knowledge with the Vietnamese community of young artists, so I went back to Viet Nam to teach Illustration at HCMC University of Architecture while still collaborating with publishers in China and Europe.
What made you move to the US?
From 2019, I had a long-distance relationship with my boyfriend, who was my friend. He is from the USA. After a couple of years of dating with trips to Vietnam, Singapore, USA, we got married and I started a new journey in the US.
How long have you lived here? Were you here when Covid-19 hit the world?
In 2018, 2019, 2020, and 2021, I visited the USA several times for traveling. I was visiting there during Covid years as well, I luckily had road trips across the USA twice with my boyfriend.
In 2021, we got married, I moved to the USA and am currently learning a lot of new wonderful experiences.
Your website says you have illustrated 25 picture books and have illustrated over 100 book covers. What did you do to accomplish that level of success right out of school?
I worked hard, with passion, curiosity, and tried to keep good quality for both academic projects and client projects. I also shared my learning journey with the community. Slowly, people share my work, and I gain more opportunities to draw books locally and internationally.
Was Di But Cua Mot Nguoi Con Gai that was published on Feb 10, 2017 your first book?
No, I think the author has a similar family name to me, but our full names are different. Her full name is Thai Thi Yen Phuong while my full name is Thai My Phuong.
Did you write and illustrate that book?
My first illustration book wasn’t beautiful since I lacked experience, but I still loved it a lot. It was the black-white illustration for a Vietnamese version of the story: The Midwife’s Apprentice written by Karen Cushman.
Since it was published in VietNam more than a decade ago, it didn’t exist in the Vietnamese market anymore.
A few months later your illustrated Ada et le fruit magique by Marc Alan Shultz came out in French. How did you get that contract?
My friend Mark Alan Shultz, loved writing a lot and wished to publish his 1st book one day. I didn’t know how to write in English but have experience in the publishing field and children’s books. We team up and co-author that story. And I sent a proposal to my clients. They loved it, and we had a real book on hand a year later, with three more languages versions!!
You show artwork on your website for KONG listed as 2018. Did you write and illustrate the book?
Kong was written by a writer. I do illustration only.
Was Kong ever published?
As the editor mentioned, they will publish but then didn’t tell me the correct time. I couldn’t search well since I don’t know the Chinese language, so I shared the portfolio following the time they promised.
I see all your gorgeous illustrations for Oliver and the book in your hands. When did Beijing United Publishing publish the book?
Thank you so much!! I’m glad that you see that Oliver book is beautiful! I drew that book at the same time as Kong, in 2017-2018. They both were ordered from RZbooks-Beijing United Publishing, but by different editors. The book Oliver was published in 2019 and I got a few samples and an editor’s thanks note from China. It was a happy collaboration, I felt very lucky!
All the illustrations are so detailed. How long did it take you to do?
From 2016 to 2019, my main medium is to mix pencil drawings with digital coloring. That style is very detailed but needs a lot of time to finish. For example:
Pencil drawing for A3 size: 3 days
Coloring: 3 days
(Not including time of research and sketching)
From 2020 until now, I’m more familiar with the digital tool since it is effective in both time and quality. I sometimes do pencil drawing mixes with digital when I have special requirements from clients.
Do you think it will be published in English?
I’m not sure, but I hope it will be! :’D
Have you illustrated other books with Beijing United Publishing?
Yes, Kong was the second book I collaborated with them.
I see the illustrated cover for Secret incubators, what type of book is Secret incubators? Did you do any interior art or did you just do the cover? Has it been published, yet?
Secret Incubators was written by a Vietnamese doctor. It is a book inspired by real stories of babies who were born with difficulty and need a long time support from hospital and incubators.
As a first plan, we wish to do both cover and interior illustration. Then my schedule changed, I also had a health issue during that time, so I did Book Cover only.
Was Leonardo Da Vinci published in 2021?
Yes, It was published in 2021 by Nui Nui.
How long did it take you to create all that wonderful artwork for Leonardo Da Vinci?
It was a challenging project for me in terms of content and technique. I also was under pressure to tell Leonardo’s life and his amazing artwork with my art style. There needs to be a lot of detailed research about his invention, historical events, wars, countries, costumes, human anatomy, weapons, physics, machines, and remarkable characters as well. The projects took close to a year, from 2019 to 2020, to finish 72 pages. And I’m very happy with the result!
Why did you choose to illustrate SENNAHOI in B&W?
The book was booked in the year 2018 when I was using the pencil drawings style mostly. I wouldn’t be realistic for the timeline if I do both pencil drawing and coloring. So I did only black and white with high details, lines movements, and world-building. Then another artist did coloring.
How did Starry Forest Books find you to illustrate Anne of Green Gables?
I got an invitation to work on this project in 2017. And I also do black-white pencil drawing only for the character’s setting, world-building, sequences, compositions, and high details. Then another artist did coloring.
This was a lovely version of Anne, I think. I felt grateful to have a chance working on this sweet story.
Was this the first US publisher you worked with?
I’m not sure. In 2010, Room to Read started some projects in Vietnam. They have a team in Vietnam to support the local authors/illustrators composed stories published for some children in difficult areas only. I composed and drew a story about ‘The Missing Rices’, and Room to Read published it. Since the publisher is originally from the USA, I’m not sure if that was the 1st time I collaborated with a USA publisher or not.
Mario and the Aliens by Carolina Zanotti came out in March this year. When did you get that contract?
I got that contract a long time ago, around 2016-2017. The story was published mostly in the EU and China, in French, Italian, and Chinese languages. Recently, NuiNui collaborated with new partners and re-published the book in the US market with the English version.
I just noticed that Amazon says Mario and the Aliens was published this year, but in your CV, you say it was published in 2018. Was it published twice?
I’m not sure if it was published twice or more than that. From what I know, Mario is published with different versions of languages for the following years from the time I finished all the artworks.
Mario also has two parts, originally published with a following timelines:
– Mario 1, in 2019: Mario e gli alieni
(https://nuinui.it/products/mario-e-gli-alieni?_pos=10&_sid=164a876c6&_ss=r)
– Mario 1, in 2019: English version
(https://www.amazon.com/Charmingly-Illustrated-Childrens-Computers-Electronics/dp/164124027X)
– Mario 2, in 2020: Amici extraterrestri… giochiamo?
(https://www.amazon.fr/Amici-extraterrestri-giochiamo-colori-gadget/dp/2889354083)
* I double checked my CV, for some reason, I remembered that Mario 1 was published in 2018. That was the time the publisher came to Viet Nam and shared the copies with me. But on Amazon, the book was officially published in early 2019. I will adjust my CV following that. Thank you for the question!
Did you have an artist rep when you first started your career as an illustrator?
No, I didn’t. In Viet Nam, I don’t see any illustration agencies. So mostly I got my previous work contracts from Behance, Social media, and online reputation. When moving to the USA and starting a new life here, I noticed most illustration works have collaborated with agencies. So I tried to apply and luckily I found The CAT Agency!
When and how did you connect with Christy Ewers at The Cat Agency?
I first contacted The CAT Agency by email in winter 2021. In March 2022, Christy and I texted each other on Instagram. And in June, we finally ‘team up’ together. I’m so lucky to be represented by Christy Ewers. She has a very amazing energy which I feel connected right away for a first video call, and I believe that I want to grow more with the CAT team on storytelling career journeys!
I enjoyed your Illustrative Photography. Have you been able to sell any of them to magazines or newspapers for their articles?
Thank you so much!! I love Illustrative Photography. I can easily imagine stories and characters for some moments around my life and my traveling because I love recording photos. To keep those imaginary memories, I quickly drew characters over camera photos, and sometimes I shared those pieces on the internet.
In recent years, I felt grateful that the hobby helps me with some opportunities to collaborate with brands in industries like food, domestic, traveling, education, technology devices, and art tools. Last year, ELLE Magazine in Vietnam also invited me to create a few pages with Illustrative Photography style to encourage Sai Gon citizens during the Covid years challenge.
Are you open to working with a self-published author to illustrate their book?
Yes, I do. If I feel connected to the stories and if they have meaningful ideas, of course, I wish to be a part to contribute my imagination to those stories!
Do you try to spend a specific amount of time working on your craft?
Yes, for the art style I feel familiar with, I can measure quite exactly how many hours I should finish. On average, I need 8 hours to craft a single coloring page with digital style.
Sometimes, it depends on the timeline requirement and content’s complicated levels. If I have more time, then I can craft more for lighting, details, movement, feelings, patterns, colors, and/or complex compositions. If I have less time, I can break the content into major parts: character, foreground, background, or major shapes to make sure the artwork is good at clarity and art – but still, be able to craft within a tight amount of time. My priority is the main characters and main subjects. So they should be done first.
As a mindset of a designer, I prefer working effectively with reasonable solutions under different types of pressures and requirements. And to me, flexibly choosing an art style/medium which matches a deadline is an important problem-solving skill.
Do you take pictures or research a project before you start?
Yes, absolutely!!
The right pictures sometimes inspire me for fiction topics. Some pictures also help me to have the correct reference for non-fiction topics. Searching is also the major step for growing ideas as multiple options, then reselecting for the best choice of idea, I believe so.
Do you have any career dreams that you want to fulfill?
Yes, most of my career dreams are for two purposes: telling better stories and sharing knowledge of creating stories.
So, I’m happy with careers related to books, and animated films. Plus, I also enjoy the career of education: teaching students or sharing knowledge on social media to young people who have the same passions as me.
What are you working on now?
Quite a lot! I’m brainstorming some story ideas for children’s books and studying composing graphic novels.
On the side projects, I’m studying visual development, trying to finish my second short animated film in August, and preparing some teaching videos.
Do you have any material-type tips you can share with us? Example: Paint or paper that you love – the best place to buy – a new product that you’ve tried – How to tip, etc.
After sometimes losing final files or lack of familiar materials due to traveling or living in different countries, I tried to learn all skills for both traditional tools and digital tools.
To me, they both help transform ideas and imagination into something visible to audiences. I want to be able to select tools flexibly to finish my work in any circumstance without having to rely on one particular choice.
I don’t know if my experience may be helpful, but the ability to use diverse tools or materials has helped my career a lot, regarding productivity!
Any words of wisdom for new illustrators?
To be honest, I’m not sure that I’m wise enough to share any advice.
From my personal experiences and perspective, I believe being patient and humble are keys to growing and learning. Also, a good attitude is important for professional growth.
* Plus, reading and learning from different fields may be helpful, since I believe Illustrating not only needs craft skills, but also needs wider knowledge to create deeper thoughtful ideas.
Phuong, thank you for taking the time to answer the interview questions and showing us your process. Please let me know about your future books and successes so I can share them with everyone.
You can visit Phuong using the following links:
WEBSITE: https://thaiphuong.net/
FACEBOOK: https://www.facebook.com/tamypu306
INSTAGRAM: https://www.instagram.com/thai.phuong.artwork/
AGENCY: https://catagencyinc.com/#/phuong/
TWITTER: https://twitter.com/phuong_tamypu
LINKEDIN: https://www.linkedin.com/in/tamypu/
Talk tomorrow,
Kathy
Thai My Phuong On Becoming Tamypu
Thai My Phuong describes the liberal upbringing that helped her to become an artist, the challenges of overseas study, and nurturing the next generation.
David Kaye
David Kaye
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Thai My Phuong On Becoming Tamypu
Bài viết này có ngôn ngữ
Tiếng Việt
Prolific artist and storyteller Thai My Phuong has illustrated 17 children’s books and over 250 book covers. She has also authored and created the artwork for publications like “Hat Gao Mat Tich” (The Missing Rice Grain), and her own version of “Snow White”. And her collaboration with American-German author Marc Alan Shultz, “Ada And The Magic Fruit”, was published, first in French, in April this year.
Thai My Phuong has also been profiled by Tuoi Tre, Kenh14, magazines like Dep and Elle, and international design blogs like Juxtapoz. She is a regular contributor to Vietnamese teen magazine “Tra Sua Cho Tam Hon” (Chicken Soup For The Soul), while completing commercial assignments for companies like Nestlé and Samsung. And somehow she’s still finding the time to nurture the next generation of art talent as a lecturer at the Graphic Design Department at HCMC University of Architecture.
Thai My Phuong On Becoming Tamypu0
In love with Phuong’s ephemeral hand-drawn images and her uniquely sideways look at life, we invited her over to the Vietcetera office. We wanted to know how a distinctly bohemian childhood helped her to realize her creative ambitions and become the artist better known as Tamypu, her challenges while studying overseas, and how she sees the younger generation’s engagement with the arts.
Can you describe your work to someone who has never seen it?
In my work, I try to balance elements that are interesting but familiar. I want to lead the viewer towards thinking differently about things they take for granted. There’s a sense of optimism too—a feeling of brightness and warmth that should feel inviting. And I also like to include humorous things. For example, I sometimes illustrate around or over found objects like watches, paperclips or fried eggs—the curve of the edge of a watch face can become a hill, a slice of bread can become a person’s blanket, or a tiny person’s drowning hand can reach out of a coffee cup.
But overall, I don’t obsess too much about style. I began as a designer and I still carry that versatility with me. The questions I always ask myself are, “Have I transmitted my idea effectively? Does it have ‘imagination’? And is there artistic merit in the work?”
When did you realize your upbringing was unusual? What led to this realization?
There was definitely a point when I noticed that I evaluated myself differently to my peers. My friends always aimed to become the best pupils in class, which meant striving constantly for academic success. Conversely, I just loved to make things more beautiful and more interesting. Because we were so different, I used to think, “Am I a bad child? Will I ever find my place in the world where what I love doing will be recognized?”
Fortunately, I found that place quickly. It was an old wall at home which my parents allowed me, a four-year-old girl, to “destroy” with chalk and pencil doodles—mostly of mermaids who, at the time, I thought I had descended from. I realized then that my parents were the only ones supporting me to explore my artistic side. Everyone else considered me strange and badly behaved. And so, of course, I continued to struggle academically, while winning prizes in creative contests.
View this post on Instagram
Lên màu nhanh hơn Ariana
A post shared by Tamypu (@tamypu) on Nov 20, 2017 at 10:05pm PST
What were the best but also the most challenging things about living and studying overseas?
My adventure in Brighton, on the south coast of England, was something of an accident. I had not prepared—my English was not good enough, and I was also not ready mentally or financially. It was the most challenging journey of my life. Although people perceive me as strong, I’m not. In fact, I’m quite sensitive. But challenges bring the best out of me. I learned how to communicate without language. Instead, I would communicate visually; like being in a silent film. Although I got a distinction, that was not my goal. My objective was to try to learn to turn my limitations and difficulties into opportunities. And I am so thankful for that time because some recent projects really began then.
So, while in Brighton, I made two small books. One was about three eggs, which was published by Kim Dong this year as “Three Eggs In The Super Boring Land”. The other book was “Ada” which I entered into a competition. Although I didn’t win, it has now been published as “Ada And The Magic Fruit” first in French and then Italian, but soon it will be released in English and Chinese too.
View this post on Instagram
Finally finished!! #bookcover
A post shared by Tamypu (@tamypu) on Mar 5, 2017 at 10:23pm PST
How is the art community in Brighton different to the one here in Vietnam?
In Brighton, I saw creative people producing works not just for themselves but also for the benefit of the city. You can tell immediately it’s a city deeply engaged with the arts. There are pictures and colors everywhere—on the streets, on walls, on buses, even in the clothes people wear. It creates a kind of song of the city. When art is expressed on the streets every day, and not only in museums or galleries, it becomes a truly beautiful thing. It is also a way of telling stories to visitors, and even to the next generation.
In Vietnam, we have a chaotic recent history. That has affected how people think and our aptitude for self-expression. I have been living in Ho Chi Minh City for more than ten years. There was a thriving art community a long time ago, but for my generation, everything feels fresh and new. Some artists are maintaining traditions, others are engaging with Western aesthetics, and still others, like me, are mixing the two.
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I have nothing but the big hugs to my tutors ✨
A post shared by Tamypu (@tamypu) on Nov 17, 2016 at 3:35am PST
Do you think that we are born with creative talent or that we develop it?
I would say both. Everyone has some artistic ability. The difference is some people nurture it, while others don’t. I think to nurture that ability you need both knowledge but also, very importantly, passion.
Before I became a lecturer, I thought that through encouragement alone we could magically transform students who didn’t have any confidence in their artistic abilities or who had been held back through a lack of support into great artists. Now I know that’s not the case. Encouragement is like a drug—it may have some effect, but that effect will probably be short-lived. This led me to explore more supportive methods. Today, I think each individual is different, and they need individualized feedback to help them grow as creatives. I would add that when a student who has a strong passion for what they do meets a thoughtful, skillful tutor, their art has the chance to soar.
Thai My Phuong On Becoming Tamypu1
Are more Vietnamese enrolling in arts courses? What’s encouraging them to sign up?
It’s hard to be exact, as I do not have access to the figures, but through my own observations, there are three types of students enrolling. The first are people who admire international artists, perhaps who they discovered online. They felt inspired and decided to enroll in an arts course. The second kind are people who admire, maybe even idolize, local influencers and they want to follow the same dream. The third group just naturally love art and self-expression. They study independently, without needing the impetus of following someone to be inspired.
How is teaching different to being a designer or illustrator? How do the two activities influence each other?
I think there’s a cycle. Practitioners, like designers and illustrators, experiment and explore new artistic experiences to generate new knowledge. As teachers, they share those experiences and knowledge with their students. But they also support those learners to create art, and that process often influences and informs their own artistic practice.
Who are your artworks for?
When I was young, I craved people’s recognition, even though I may not have realized it at the time. I was constantly trying to prove my artistic ability to people by making things I thought they would like. I do not regret that. It is part of the process of becoming more mature. But the problem with that mindset was that after I had satisfied someone what comes next? I was stuck in a cycle of craving compliments. Right then I realized, having the pure urge to create is very different to wanting to make things just for recognition and fame.
Thai My Phuong On Becoming Tamypu2
My father was a musician. He passed away recently. One thing he said has stayed with me—“One day people die, but their art lives on, forever.” However, art can only survive if future generations perceive its value. Realizing this, I changed my direction. I decided I wanted to make art with meaning, art that could benefit the world in some small way. This has also encouraged me to focus on helping children think differently. I want to inspire them and help nurture their creativity.
What routines do you employ to help you stay focused when you are working? What things help you to be more creative?
My need for focus depends on what I am doing at the time. If I am very clear about my objectives, I will focus intensely. If my objective is to continue working on a project that has been going for some time, my routine can be dramatically different—wake up, exercise, drink tea, spend some time to explore new ideas. Then in the afternoon, I develop some of those ideas. The next day, when I’m fresh, I will look again at what I have done. This helps me to spot any mistakes or identify any problems. I don’t know whether that is a routine, but I repeat this cycle over and over until the project is finished.
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Gonna work hard for next 10 days. When got sick, pls change color of your bed XD, so refreshed!!
A post shared by Tamypu (@tamypu) on Oct 20, 2017 at 8:50pm PDT
Another thing I do is, if I have a long-term plan or goal that may take several years, I divide it into smaller steps. Then I feel better each time I reach one of the mini-milestones, or even when I reach my target for the day. Focusing on the bigger target is overwhelming. Most likely I will start to feel negatively towards the project and lose my passion for it.
Could you explain the evolution of your various social media presences for us?
I used to think social media was a way of communicating ideas with an audience. But I have discovered that the process is two-way and I have learned a lot from the people I connect with. It has also been a good way to chronologically track my work’s progress and my experiences.
I try to make all my social media pages beautiful. On “Tamypu’s Tiny Things” I share my professional work. The focus is on my current portfolio so I can share what I am doing but also get thoughts and feedback from followers. I share things I am interested in on “Tamypu Homemade”—cooking, decorating, even wrapping gifts, and the way these activities intersect with art. Finally, on “Today Tamypu Learns” I share life observations. There, I talk about events and situations I have been involved in and my thoughts and reflections. Then there is my own Facebook profile that is a mixture of all the above.
How do you find time to make posts when you are so busy?
There is no process to it. I share randomly without a premeditated plan or schedule. I think it is important to make honest posts driven by real emotions. Having said that, I do place restrictions on myself. For example, I will only check Facebook at noon and at night. And I will only make between two and four posts per week. Otherwise, I am sure I will become addicted, lost in people’s ideas and opinions, and mired in some of the negativity we find on social media. My philosophy then, if I could summarize it, would be that it is a tool for two-way communication—use it effectively and do not let it use or control you.
Thai My Phuong On Becoming Tamypu3
And how did the Samsung collaboration begin? How does it fit with your creative vision?
Actually, before the Samsung collaboration, I’d worked with Nestlé. I visited coffee plantations as a picture journalist to tell the story of the cultivation of certified-quality coffee. I told the story very simply, from the perspective of the farmers and their families. The story touched many people and was widely shared on social media. The success of that project prompted lots of brands to ask me to produce stories for them, but I only want to focus on certain things, like family, travel, food, and education too. So, when Samsung asked me to visit orphan centers in remote areas, to explore how modern products and technology can help them to access the world, and to dream bigger, I agreed. Since then the collaboration has developed, but always with community values at its core.
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Phương thề Phương trong sáng hi hi . . . #GalaxyNote8 #dobiggerthings
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If you could live in an imaginary world, what would it be like?
It would be my dreams. Dreams make up my imaginary world. And it would probably be in black and white. To me, black represents a beautiful kind of evil, while white is strong but angelic. I think I am both.
We forgot to ask, when did you first become “Tamypu”?
Actually, the name came about as a shortcut for me. By 2010, people were starting to ask me to sign books, and Thai My Phuong is too long to write over and over. Tamypu was much shorter and easier to write.
Who do you think we should speak to next?
There are many people that I admire. Dy Duyen is a photographer who you can follow on Instagram. Then there is Hang Artdoll—an artist who creates brilliantly emotive handmade dolls. There’s Hang’s husband, Nguyen Thanh Phong, too. He is very successful with a unique voice in a different artistic field—comic books. Also, Trung Nghia. He built a fantastic sculpture using natural aged materials, which he is currently preparing for exhibition. Finally, there is Vu Tien An, a young architect and lecturer who has turned a small piece of land into a beautiful house and studio for himself and his family.
McKinnon, Bob AMERICA'S DREAMING Penguin Workshop (Children's None) $19.99 6, 4 ISBN: 9780593658796
A child named America feels out of place at a new school.
America is clearly nervous. Though the child isn't visually depicted (each scene is viewed from the young narrator's perspective), America confesses, "My hands are shaking so bad, I drop my backpack." As class begins, the teacher, Mr. Downs, invites the students to introduce themselves and share their dreams, which include scoring the winning World Cup goal and singing on Broadway. But when it's America's turn, the child freezes up, and the other students giggle and sneer. During recess, America stays inside, buried in a biography of Abraham Lincoln. Mr. Downs offers America books about historical figures such as Martin Luther King Jr. and Sojourner Truth, people who sometimes felt they didn't belong. That night, these larger-than-life people visit America in a dream and share words of wisdom. The next day goes better: America speaks up, and the other students welcome America into the fold. McKinnon tells a heartfelt yet didactic story, accompanied by Phuong's earth-toned illustrations. The legendary figures America meets are reduced to flattened, simplistic depictions. McKinnon offers a one-sided view of friendship and acceptance; while America does plenty of soul-searching, the other students don't reflect on their unkindness--which may inadvertently leave readers believing that the onus is on bullied children to work harder to fit in. The other kids' ultimate willingness to embrace America also seems unrealistically rushed. The class is diverse; Mr. Downs is light-skinned.
An earnest but less-than-convincing attempt at fostering inclusion. (author's note, information on historical figures) (Picture book. 4-8)
Copyright: COPYRIGHT 2024 Kirkus Media LLC
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"McKinnon, Bob: AMERICA'S DREAMING." Kirkus Reviews, 15 Apr. 2024. Gale General OneFile, link.gale.com/apps/doc/A789814594/ITOF?u=schlager&sid=bookmark-ITOF&xid=cea1038d. Accessed 18 Jan. 2025.
MCKINNON, Bob. America's Dreaming. illus. by Thai My Phuong. 48p. Penguin Workshop. Jun. 2024. Tr $19.99. ISBN 9780593658796.
Gr 1-5--On the first day of school, America looks for a solo seat in the classroom. During introductions, America freezes up and isn't able to share something they love to dream about. At recess, America stays inside with a book. The teacher shows America the Welcome Wagon, laden "with books to remind us that all kinds of people had trouble being accepted." America borrows books about Amelia Earhart, Sojourner Truth, and Martin Luther King, Jr. Reading their stories that night gives America the courage to share their dreams with the class the next day. Through America's journey, readers are reminded of the importance of understanding and respecting different preferences in social interaction. The narrative skillfully explores America's gradual comfort, from choosing to stay inside to read to eventually raising their hand in class. The book portrays a diverse classroom environment, and Phuong captures small details, like the Welcome Wagon sign on the cart of books, that add depth and authenticity to the setting. This attention to detail enhances the overall reading experience and invites readers to appreciate the beauty of inclusivity. This needed story celebrates individuality and is a reminder that every child moves at their own their own pace, and that it's okay to find happiness in solitude. Heartwarming and thought-provoking, this book encourages readers to embrace their unique qualities and appreciate the diversity of the world around them. Back matter includes an author's note, short bibliographies of the famous individuals mentioned in the story, and suggestions of titles for those wanting to create their own book collection. VERDICT A valuable addition to any library or classroom collection.--Peggy Henderson Murphy
Copyright: COPYRIGHT 2024 A wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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Murphy, Peggy Henderson. "MCKINNON, Bob. America's Dreaming." School Library Journal, vol. 70, no. 8, Aug. 2024, p. 77. Gale General OneFile, link.gale.com/apps/doc/A806586264/ITOF?u=schlager&sid=bookmark-ITOF&xid=724a6f41. Accessed 18 Jan. 2025.
HO, Joanna. A City Full of Santas. illus. by Thai My Phuong. 32p. HarperCollins. Sept. 2024. Tr $19.99. ISBN 9780063287532.
PreS-Gr 2—Seeing the "real" Santa is often priority number one for Christmas-celebrating children, and this title is a fun, fresh take on a familiar holiday dilemma. A young Asian girl is overcome with excitement at the prospect of seeing Santa Claus this year at the fancy department store in the big city. After a train ride into the bustling city center, the young girl spies Santas of all shapes and sizes on street corners, park benches, and strolling down sidewalks. Confused, but eternally hopeful, the girl queues up in the department store line with her mom, only to be met with a Santa who is less-than-brimming with Christmas magic. Her disappointment is a nod to the iconic scene from the movie Elf of Buddy accusing a department store Santa of smelling like "beef and cheese," which is sure to elicit a giggle from those familiar with the holiday classic. The girl is sad all the way home, until she gets to her house and realizes that she still has one more chance to meet Santa. Ho's lyricism shines in this buoyant holiday picture book, and Phuong captures the emotional ebbs and flows of the young protagonist while peppering the illustrations with sparkling holiday magic.
VERDICT: A fine addition to Christmas collections.—Sarah Simpson
Copyright: COPYRIGHT 2024 Library Journals, LLC
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Simpson, Sarah. "A City Full of Santas." WebOnlyReviewsSLJ, vol. 70, no. 9, 27 Sept. 2024, p. 1. Gale General OneFile, link.gale.com/apps/doc/A812243658/ITOF?u=schlager&sid=bookmark-ITOF&xid=43b28e10. Accessed 18 Jan. 2025.
Ho, Joanna A CITY FULL OF SANTAS Harper/HarperCollins (Children's None) $19.99 9, 10 ISBN: 9780063287532
A child hopes to finally meet Santa after years of falling asleep while waiting for him.
The bubbly young narrator is full of excitement over an upcoming trip to "the big fancy store in the city" to see Santa. In short, upbeat stanzas, the child explains that "every year / for the last five years / I've tried to stay awake / to meet him face-to-face." Sadly, the child always falls asleep. Still, the youngster knows plenty about Santa: He "smells like peppermint and chocolate. / Santa laughs like the sun clapping its hands. / Santa feels like a heart full of glitter." Cheerful, watercolorlike digital illustrations depict the lively, expressive protagonist, who's often surrounded by a sprinkle of sparkly dust. When Mama and her child arrive in the city, they see Santas everywhere--but none have the right smell, laugh, or feeling, not even the Santa at the big fancy store. Dispirited, the little one goes home with Mama, who wordlessly conveys her love by touching the child's head and tucking the youngster in. "Gabble-gosh! / I fell asleep again!" the child exclaims in the morning. But no matter: The young narrator knows Santa has been there because everything smells, sounds, and feels just right. Both Mama and the child present East Asian; their community is diverse.
A warm Christmas story with a heart full of glitter. (Picture book. 4-8)
Copyright: COPYRIGHT 2024 Kirkus Media LLC
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"Ho, Joanna: A CITY FULL OF SANTAS." Kirkus Reviews, 1 July 2024. Gale General OneFile, link.gale.com/apps/doc/A799332906/ITOF?u=schlager&sid=bookmark-ITOF&xid=3d6cc3a2. Accessed 18 Jan. 2025.